• Journal of the Korea Academia-Industrial cooperation Society
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• v.14 no.3
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• pp.1061-1072
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• 2013

In order to improve executive ability in response to need of job ability in cultural content industry and in connection with industrial scene, it is required to develop curriculum for department of broadcasting, entertainment and acting First of all, environmental analysis of cultural content industry, survey on industry demand, survey on demand by enrolled students and graduated students, survey on demand by local community were made and conducted to draw job competency for acting art. In addition, the existing curriculum was analyzed through evaluation by field experts, enrolled students, and graduated students. Based on the analysis results, major curriculum was developed for department of broadcasting, entertainment and acting. Such curriculum development enables providing acting education that focuses on core competency to maximize education effect and cultivating actor who is suitable for the age of multimedia based on local infrastructure. Moreover, the curriculum development helps cultivating versatile actor, rather than famous actor.

• Journal of Korea Entertainment Industry Association
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• v.14 no.4
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• pp.47-55
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• 2020

In this paper, acting of Meryl Streep, who was recognized as a method actor in Hollywood, was analyzed, and this paper tried to find out how Meryl Streep utilizes the American acting method to improve her acting skills. To do this, we first looked at the concepts and theories of the American acting method, and analyze the acting of Meryl Streep through three films: "Sophie's Choice", "The Devil Wears Prada", and "The Iron Lady". Analysis results show that Meryl Streep utilizes all of the American acting methods, such as "Emotional memory", "Imagination", "Given Circumstance", and "Repetition" without any particular distinction. Meryl Streep uses not a specific acting theory, but selects appropriate training for herself. According to the analysis of this paper, we can understand the acting method that Meryl Streep uses, and shows some way to develop the acting training. The result of this paper can be used to the acting training, and it will be an opportunity to follow in the footsteps of one of the greatest actress.

• Journal of Korea Entertainment Industry Association
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• v.14 no.7
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• pp.275-286
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• 2020

In this paper, through a questionnaire to currently active actors, we sought to understand their understanding of American acting methods and whether there are any particularly effective or ineffective acting training methods among various method related to this. For this, pre-questionnaire was conducted to ask about their understanding of American action methods, and post-questionnaire was conducted to find effectiveness of American acting method and effect of individual method after performing simple acting training with four representative theories of American action methods According to the analysis, the actors surveyed were not familiar with the American acting method and want to systematic methods in acting training. All of the acting training through the American acting method were effective, especially Stella Adler's imagination was the most effective method. The least effective method was Sanford Meisner's repetition. The results of this study can be used as fundamental data for introduction and utilization of American acting method in domestic acting training.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.103-116
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• 2020

This paper starts with the recognition of the problem of the need for a link between text-centered acting and body-centered acting. This study is focused on Brecht's theory of acting to overcome loss of presence by repetition which have been discussed many times by not only actors, but also acting educators. Brecht's acting theory has already been mentioned by many researchers as an alternative to conventional actor training. However, not many studies have been conducted on practical applicable methods. The purpose of this study is to provide the basis for the actual practice of Brecht acting and possibility that his acting theory can serve as a link between text and body-centered acting theory. As a research method, we first conduct theoretical considerations on the concepts and limitations of text-centered representational acting and body-centered post-drama acting. Then distinguish between text and body-centered acting tools among Brecht's epic theatre, to summarize the terms and concepts he uses and to identify the existing effects he reaches while acting. Finally, this paper proposes an teaching model that transforms and develops Brecht's acting theory through the writer's teaching experience. However, there are limitations in generalizing its effectiveness because this study is based on the writer's experience. We hope that further research will help the diversity of acting education by developing in-depth insights on Brecht acting theory and various models of acting teaching methods.

• Journal of Korea Entertainment Industry Association
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• v.14 no.2
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• pp.41-50
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• 2020

Acting is an act of expressing personality, image, sound, tempo, and movement flexibility in order to effectively express fictional characters in the play. It is said to refer to the action or mood of the person performing the character. In addition, all these acts are important elements of the media that the director wants to convey the subject of the work to the audience. In particular, the actor relies on the ambience, image and passionate role of winning and losing in theatrical film. In addition, more than 60% of the afterimages or remaining images in the film are images of the actor's acting or movement, and the trend of the actor. This study is not about acting divided by Conti, who is under the control of directors and directors. The purpose of this study is to analyze the aesthetic response and analyze the inner half of the suspense in the act and to help influence the expression that is effective in expressing the play.

• Journal of Korea Entertainment Industry Association
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• v.15 no.4
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• pp.89-100
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• 2021

Comedy has been popular since ancient Greece. In order to visualize comedy more effectively, the actor's acting acts as an important factor. Then active discussion is needed on how actors can actually shape their comedic performance. I would like to approach comedic acting methods, focusing on the character of Kim Seo-young in the play . This researcher played the character of Kim Mi-young, and the characteristics of comedic acting include exaggeration, repetition, fast tempo, changing tone, and exaggerated physical behavior. Comedic acting comes from a dissonance of reactions. This is because unexpected reactions to stimuli can cause audience laughter. Comedic acting is also important in exaggeration and repetition, which must be based on true acting. The fast tempo of the act and the changing tone of the words also affect comedic acting expressions, and the embodiments of 'slapstick' and 'group dance', which are characteristics of farce acting, play an important role in causing audience laughter. In order for these characteristic elements to show comic effects, the actor's true acting must be the basis. What is important in comedic acting is understanding the narrative flow and features of the text and expressing it accurately. Comedic effects can be sufficiently represented if an actor truly expresses his means and faithfully demonstrates what the text requires. It is hoped that such research will help explore various acting arts, the acting education field, and the theater creation process.

• Journal of Korea Entertainment Industry Association
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• v.14 no.8
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• pp.131-140
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• 2020

This article attempted to apply the methodology of film acting as a performance oriented towards socio-cultural meaning to Min-sik Choi's acting. Specifically, the relationship between the body, the face, the audio, the direction and the attitude toward film technology mentioned in the interview dictation of actor Choi Min-sik was analyzed. In conclusion, Min-sik Choi's acting cannot be defined only by method acting, but implies or integrates the typical or avant-garde acting theories such as Stanislavsky, Strasberg, Mayerhold, Brecht and Grotovski. Above all, it is the presentation that expresses the flow of life through movement suggested by S. Kracauer. The feeling of compassion that Choi Min-sik himself emphasizes is in contact with the essence of the film that reproduces the flow of life, and it expands to an intended screen performance with a certain purpose. The screen performance that can be compressed with compassion and the flow of life is expressed by Min-sik Choi's various personas. His persona, transcending good and evil, reflects the present of Korean society.

• Journal of Korea Entertainment Industry Association
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• v.13 no.3
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• pp.131-138
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• 2019

In general, film acting refers to American method or Hollywood method. Hollywood method is a term to denominate collectively actors from Group Theatre of Lee Strasberg which accepted Russian Stanislavski's system as American acting. We can find out the origins of Korean acting in the attitude of actors who imitate Hollywood. Hollywood method, which seem to be more systematic and rational in the previous Sin-pa, has begun to be accepted in the fields of actors, directors, critics, and educators. The perception of Hollywood method in Korea is part of the search for the identity of Korean film acting. This article approaches from the perspective of four fields. First, it is Korean actors' perceptions about Hollywood methods. Second, I examine the attitude of the direction of staff and technical aesthetics regarding Hollywood method. Third, it is evaluation aspect in criticism area. Fourth, it is an aspect of education.

• Journal of Korea Entertainment Industry Association
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• v.14 no.3
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• pp.307-322
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• 2020

The acting of physical action of the director Kang Yang Won's plays is mostly simple and repetitive. This acting induces the audience to sensuous perception and certain corporal emotions. In addition to semiotic meaning of dialogue a stimulus is given directly to sense of the audience. Therefore, the audience participate in creating a performative space with assistance of atmosphere. So, the feedback-loop of autopoiesis is made and the emergence of meaning is experienced due to felt perception. This emergent meaning springs unexpectedly by imagination, remembrance, and association etc. and is not produced on purpose. In addition, the audience participates in the performance together by the intersection of the perception for representation and perception for presence, and is especially affected by the presence of acting of physical action. In this paper, the study of four major performances of the theatre troupe Dong performed since the 2010s confirmed not only the individuality of each performance, but also the commonality that encompasses the entire performances. This led to discovering the discrimination power of the aesthetics of theater of the director Kang Yang Won and the theatre troupe Dong.

• Proceedings of the KIEE Conference
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• 2002.11c
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• pp.505-508
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• 2002

An emotionally modeled robot is dealt in this paper. The emotional model is required especially in the entertainment robot. Recently, the entertainment robots have been developed as the next generation of electronic toys. They require several capabilities such as perceiving, acting, communication, and surviving. The owner recognizes the communication with a entertainment robot by observing its expression and reaction. The expression is realized by emotion-based actions based on moving, dancing, sounding, speaking, and lighting. Therefore, we propose an emotional modeling algorithm, using the fuzzy logic system, in this paper. Good performance of the algorithm is confirmed by the result of a simulation.